La Digital Creativity
Digital innovation has further enhanced the creativity of graphic art through a gradual innovative process starting initially in 1960, with a “computer graphics”, to subsequently legitimize a computer science discipline of contemporary art. Considering the technological advancement of information technology, an energetic graphic-digital future is expected and consequently for the creatives of the sector it will be crucial to comply with a systematic IT update. From an artistic point of view, graphic art globalizes a set of mainly craft activities; engravings, xylographs, lithographs, screen printing, xylography, industrial design, in parallel instead the applications of graphic computerization are extended to a multitude of activities; typography / cinematography / games / advertising / journalism / television / photography; accumulated with the definition of “Digital Creativity”.
But specifically, digital graphics focuses on a personal graphic-technical grammar; first of all it is crucial to avoid an excessively altered visual iconography, because the possibilities offered by digital technology allow different entities of manipulation, but an excessive alteration shatters every link between the visual product and reality. Consequently, when the more limited the manipulation is, the greater the relationship between concept and real results. Technically respecting the structural setting, but manipulating with strong contrasts, or inverting the brightness present in the photographic shot with the aid of digital power and respecting an initial aesthetic design, a new visual look is built which however structurally maintains a link with reality. The new becomes contemporary, if linked to the conceptual idea, which characterized much of contemporary avant-garde art around the 1960s. The different photographic shots are taken at different times of the day to evaluate the best light intensity that surrounds the chosen composition. The absolute preference is to use a RAW image file, because it facilitates the adjustment of individual luminance values in relation to the initial programming, and helps to modify the density and contrast of black and white with the gray range. By replacing black and white with two shades with opposite brightness, it is essential to contain the intensity of the same shade previously created. Overall, the monochromatic iconographic aspect is strengthened with chromatic alternatives which, respecting the real compositional structure, presents a variant contemporary vision.